Jalousie edvard munch biography
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File:Edvard Munch - Jealousy (1895).jpg
| (1863–1944) | |||
|---|---|---|---|
| Alternative names | Birth name: Edvard Munch; E. Munch; Munch; edv. munch; Eduard Munch | ||
| Description | Norwegian painter, graphic artist, printmaker, draftsperson and architectural draftsperson | ||
| Date of birth/death | 12 December 1863 | 23 January 1944 | |
| Location of birth/death | Løten (Norway) | Ekely (Norway) | |
| Work period | 1883–1944 | ||
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Jealousy (Munch)
Painting by Edvard Munch
| Jealousy | |
|---|---|
| Artist | Edvard Munch |
| Year | 1895 |
| Medium | Oil on canvas |
| Dimensions | 66.8 cm × 100 cm (26.3 in × 39 in) |
| Location | Bergen Kunstmuseum (Rasmus Meyer's Collection) |
Jealousy (Norwegian: Sjalusi) is a painting by Norwegian artist Edvard Munch.[1] Munch returned to this image throughout his whole life - he completed no less than 11 painted versions of Jealousy. The first painting was executed in 1895, and the last was made during the 1930s. Munch also created four lithograph versions and one drypoint of Jealousy.[2]
The painting was made during European period and is based on expressionism style. The 1895 oil on canvas painting, perhaps the most famous version, is now housed at Rasmus Meyer Collection, Bergen and it measures 67 cm (26 in) by 100 cm (39 in). In addition, eight painted versions are possessed by the Munch
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Jealousy, 1895 by Edvard Munch
This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features.
Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with the poet's wife, Dagny Juell, whom he painted in 1893 - the year of her marriage. the charged triangular situation, which in various degrees of recognizability reveals the features of the same protagonists, is also reflected in an oil of 1913 at the Munch-museet and in other related versions, among them Passion. Thus passion, jealousy, the biblical allegory of temptation, and an autobiographical incident converge in Munch's work, recurring in paintings and prints at different times.
The small Bergen oil is firmly structured and the definition of the picture planes is exceptionally clear. Przybyszewski occupies the extreme foreground, tree and door share the middle plan